TEDDY BOY [outtake]

This edit starts with a Jan 28 take that was never bootlegged, and
cuts into the Jan 24 take that was mixed in March for the album and
bootlegged since 1970. The Jan 24 take is itself edited and does not
run straight through from the point where it is joined.

"Queen says no to pot-smoking FBI members" was recorded Jan 8 onto the
filmmakers' mono soundtrack tape at Twickenham Film Studios, and it was
edited onto the start of the song on March 30. It was omitted on the US
single.

The Jan 1970 vocal overdub included the spoken words during the solo. The
same take does not have the words in the March 1969 mix or the Get Back
album. Possibly the entire vocal was re-recorded.

RIP IT UP / SHAKE, RATTLE AND ROLL [outtake]

This sequence (it is really just the end of Rip It Up) was mixed in
March 1969 for the album, or some release, and a mono mix is also
familiar from the Let It Be film. The next number performed, also
mixed in 1969 and used in the film but not in Anthology 3, is a medley
of Miss Ann, Kansas City and Lawdy Miss Clawdy. This was then followed
by Blue Suede Shoes, which is part of the same track on Anthology 3.

This segment of an 8 minute song was crossfaded into "That was can you dig it
. . .hark the angels come", recorded 24 Jan 1969 at Apple after a very
different improvisation also featuring the words "dig it!".

The original performance of this take, bootlegged since 1970, is heard
in mix [b] from Anthology 3. The standard mix [a] removes the
Beatles' instrumental work and part of the vocal (the second bridge)
in favor of orchestra and strings recorded in April 1970.

(This take is redated from 31 Jan based on Mark Lewisohn's notes on
Anthology 3. The take used in the film Let It Be is still dated to
31 Jan. No published evidence supports either date over the other.)

The exact recording date is still not resolved. Lewisohn says the version
with the coda as heard in [a] and [b] is from Jan 28; Sulpy and
Schweighardt confirm that this is the date of the coda alone but date the
body of the song to Jan 27, and I'm following that for now. This may have
to be changed later.

The mono and stereo versions [a] [b] for the single are similar. After a
pause, after a high "woo", they continue into a coda with half-spoken words
into a fadeout. Mono [a] fades slightly longer, but [b] is heard a second
longer than usual on Capitol's "20 Greatest Hits". The mono mix was first
issued worldwide on a 3-inch CD single in 1989.

The take of the main body of the song actually ends with the "woo". The
March 1969 stereo mix (as heard on bootleg) ends there, with off-mike
talking, and continues a few seconds into silence and a guitar noise. The
unreleased "Get Back" albums compiled later use the [b] from the stereo
single, and, as a reprise at the end, they use more from the same take
as the coda (Jan 28?).

The "Phil Spector version" [c] is edited after the "woo" into speech
recorded 30 Jan 1969, at the end of the last "rooftop" performance of Get
Back: "(cheers) Thanks Mo. . . we hope we passed the audition". The speech
at the beginning with "Rosetta" belongs there as part of the body (Jan 27?)
take, as evidenced again in the March 1969 mix, but the "Sweet Loretta
Fart" verse has come in from another source unknown.

There appears to be a second John vocal in verse 3 (trace of another vocal)
and more clearly at the very end in the fade where it seems to be John
overlapping on "Can you dig it"/"Don't let me"/"Yeah"/"Don't let me down".
Or is it Paul? If it's an overdub, it was perhaps added at the mix session,
either live or dropped in from another tape.

GET BACK [outtake]

The third rooftop take, and the end of the performance. Talk at the
end ("hope we passed the audition") is faded out in this Anthology
version, but is heard as edited onto the end of the standard version,
mix [c] (Let It Be album)!

The "single mix" [a] uses lead guitar overdubbed April 1969, ignoring the new
lead guitar track recorded earlier the same day, while [b] uses the lead
guitar overdubbed Jan 4; both use horns from January 1970, [b] more
prominently. [b] has a repeat of the last chorus edited in.

Three takes from Feb 22 work were edited into a master (2d generation), which
was overdubbed, mixed down on Apr 18 (3d generation), and overdubbed on Apr
18 and 20 and Aug 11. Different overdubs were made to the 2d generation tape
Aug 8. The mix is the 3d generation for 4:37 (up to "she's so") and then the
2d generation tape, which has a white noise added Aug 8.

The crossfade joins it to the next song Sun King / Mean Mr Mustard and
includes sound effects not part of either song. The sound effects in the
join are the Aug 5 additional recording listed above, credited as part of
this song but really a separate tape used when the crossfade was done.

A rough edit of the medley was done Jul 30, and the piece of tape containing
this song was cut out of it, from its position between Mean Mr Mustard and
Polythene Pam. The piece of tape was then rescued and used for the album.
The cutting, not originally intended for release, was just slightly early at
both ends: the last note of Her Majesty was lost, and the crash at the
beginning is the last note of Mean Mr Mustard.

The edit added an edit piece, Aug 14, to the stereo master. A few seconds
were edited out of the album master on Aug 25, so the master tape of the song
differs from the album-- check any future reissues.

The crossfade joins this to the preceding song, Golden Slumbers / Carry That
Weight. A few seconds were edited off the album master, so the master tape
of the song differs from the album. Lewisohn does not specify what was cut,
but a version with a longer sustained final note has turned up on bootleg;
whether it is on any legitimate release is unknown.

The deliberately different Anthology remix has "considerably more guitar"
and brings up the orchestra more at the end. It then edits hard into a
sound processed from "A day in the life", 22 Feb 1967, which is arguably
a separate item.

These two were recorded straight through. The first crossfade joined this to
the following item, Polythene Pam / She Came in through the Bathroom
Window. The second joined that combined tape to You Never Give Me Your
Money.